My most recent work is a mediation between the individual subjectivity, authenticity and tactility seemingly inherent in techniques of painting and drawing, and the modes of technological and digital reproduction. Here, use and/or misuse of technological means becomes an obstacle of personal subjectivity and decision making in order to achieve unanticipated results.
The initial wall size installation in this series was made with cut vinyl in mimesis of this Abstract Expressionist mode of mark making, more specifically that of Pollack. This piece began through a process in which a gesture was made to outwardly appear as the record of an event with paint, consisting of drips, lines and puddles made on paper on the floor. The seemingly emotive gestures are subsequently scanned into a computer to form a database of fragments to draw from. Using these preexisting fragments, a digital sketch is then highly planned and composed on the computer. The final resulting image in this case is no longer an arena through which the artist acts, but rather the antithesis, a preconceived collection or composition of actions, taken from their once immediate and seemingly unconscious gesture, and deliberately constructed within the digital frame. The marks replicated within the piece speak more of the lyrical, fluid, and decorative rather than the aggressive. The shapes of the original pours, drips, and lines are composed as three sections that flow towards each other with a slow viscosity, to come close to convergence without touching. Vein-like lines, quiet dribbles and still pours appear more gracefully parasitic than as an outright illustration of power, creating a formal contrast to the mark-making techniques and ideals of the Abstract Expressionists, from which this piece references.
The subsequent pieces in this series make use of one specific form made in the drip process illustrated above. This form is reproduced through the exploitation of technology such as a vinyl cutter, for the use of creating drawings and cut paper installations. Within the drawings the form is replicated in different sizes and orientations, each being individually printed on paper, run through the vinyl cutter multiple times to layer the image. In allowing the vinyl cutter to determine the placement of each replication, the process becomes a subversion of my own agency and importance in the creation process, as well as an appropriation and subversion of the original intention of technologies through their misuse.